Britney's Boring "3"some

I love this video for no reason at all. It's repetitive and boring, and Brit's hardly moving at all, much less dancing. In fact, the clip is basically a collection of glamor shots in motion, which continues Britney's Circus-era trend of looking fabulous, but functioning minimally. Trust me, I made it to one of the shows on her hugely successful Circus tour, and she's just as disengaged in person as she is on film. There's no spark left in Britney, but she's a business MAN, thus the train must keep moving.

All that being said, she's looking amazing in this clip. I bet if they would've slipped her a couple shots of tequila beforehand she would've worked that pole like she had kids to feed (wait...). Remember the Gimmie More video?

Two Songs I'm Loving, One More I'm Not

The Good:

Bad Habits
Maxwell

The thing is, Maxwell is brilliant and "Bad Habits" is everything it needs to be. The perfect follow up to "Pretty Wings," the song opens with Maxwell's signature falsetto pouring over a mellow intro before it builds toward a horn driven ode to infatuation. As always the lyrics are inspired, and Maxwell's vocals throughout are flawless. Really, Maxwell gets better with time, and BLACKSummer'sNight is arguably his strongest collection of songs to date. Or maybe everything else in music sucks right now, and I'm just THIRSTY for some quality.

Banging On The Walls
Cassie

I fully realize that juxtaposing Cassie so close to Maxwell may bring my credibility into question, but I'm fine with that. One song doesn't reflect the other, and that's fine. I'm a fan of any artist that recognizes their lane, and stays there. Cassie can't sing, and "Banging On The Walls" acknowledges that. Autotune is this girl's friend, and it works really well on this song. "Walls" is easily a suitable dance song, and almost dips into exceptional at the 2:55 mark, which introduces a synth-heavy bridge that compliments the song's overall production perfectly. If "Banging On The Walls" were recorded by Britney, folks would be ON it. Alas, Cassie is a joke and unfortunately "Walls" will suffer in response.

The Bad:

Obsessed
Mariah Carey

I'm not late with this, I was just REALLY wanting this song to grow on me. It hasn't. Mariah Carey is a study in regression. If 2004's "Shake It Off" was urban Mariah at her reformed best, 2007's "Migrate" along with the rest of the tragic E=MC2 went beyond urban to hoodrat, and that's not cool. With "Obsessed," Mariah becomes too comfortable in that lane. This is a Keri Hilson song. No, this is post-"After the Storm" Monica. This is bad.

Too gimmicky: "I'm the press conference, you a conversation." Too 20-something: "I'm in the A. You so so lame, and nobody here even mentions your name." Too out of touch: "You on your job, you hatin hard."

When Mariah Carey is too smart for this, I can't help but to think that she's insulting me with this song. The woman who wrote "Always Be My Baby," and "Breakdown" now expects me to ghostride the whip to circa-2002 lyrical laziness? She's not dumb, so she must think I am.

The best part of this song: "And I was like, why are you so obsessed with me?" And THAT was lifted from Mean Girls.

Checkout all three songs below, and tell me what you guys think:

"Why R U" Sleeping on Amerie?

Cute headline, right?

I'm convinced that Amerie's "Why R U?" will be the most slept on single of the summer. Already I've heard more negative reviews than good surrounding the singer's first Def Jam single, and those opinions are perhaps as misguided as Amerie's decision to sign with Def Jam in the first place (If your name isn't Rihanna or Mariah, you aren't getting anywhere with Def Jam).

Amerie's voice isn't the strongest, but she'll sing any song like it hurts not to. Because of that effort her "Why R U?" delivery caters toward the track's relaxed 90's production perfectly. Think, Mary J. Blige crooning over "Reminisce" or SWV's slick approach to "I'm So Into You." Not that Amerie is as engaging as Mary, or matches SWV's new jack swagg, but she's singing "Why R U?." Not hiding behind production tricks or vocal gimmicks. Not T-Pain'ing her way toward a hit.

The track's oldschool production is contemporary enough to work as well today as it would have in '92, and that my friend is what we call a timeless record. That's right, I said it.

Don't think that "Why R U?" is groundbreaking, or particulary originial. In fact, it's quite comfortable. But a good song is a good song, and "Why R U?" works well in that capacity.

Checkout the stale ass video.

Amerie - Why R U (Official Video) HQ
Uploaded by wonderful-life1989. - See the latest featured music videos.

Oh, but nobody matches her fly.

To Twitter or Tweet

I don't follow a lot of celebrities on Twitter, because for the most part they only use it to satisfy their own egos. You know, saying a lot but replying to nothing. Self-promotion is respectable, but ignoring folks on a SOCIAL networking site doesn't make a whole lot of sense.

That being said, a few celebs have caught my attention (Trey Songz, Jordin Sparks, Tristan Wilds), but Mariah Carey is by far the FUNNIEST.

Mimi usually makes me want to vomit, but I won't front...chick is hella self-aware, so that I get the feeling I'm laughing with her.

Here are just a few of her gems:

• "someone complained about the bad grammar in my messages. For the record, it's a tweet dear, not a thesis."


• "Nick is too cute when he's sleep! I wish he didn't have to work tomorrow so he could help me sleep all day and I could sing all nite!"


• "Just finished working out. Whooo! Quite naturally" its 5am and I still can't sleep"(sung like "crybaby" from "Rainbow"99)lol Who's up?"


• "I'm pretty sure my spell check is broken cos I know I MUSTVE spelled Chihuwawa wrong. No, I cannot spell..its almost as bad as I am at math!"


• "When I was 4, Iwent on an Easter egg hunt and I actually stumbled upon "THE BONUS EGG" aka I WON!!! But...Then... This 12yr old girl stole the BONUS EGG right out of my hand and ran around saying.."I got the BONUS EGG!!!".... (Easter saga cont.) Anyway, she won a HUGE Easter basket w/stuffed animals and candy and she didn't even find the frikin egg!!!

If you're on Twitter, follow her. If you're not, sign-up for twitter, and follow her.

Oh, and if your @'s are a bit sparse, here's a list of some of my favorite Twitter-ers:

@Pinkissopretty5

@KevinRScott

@Ellington51

@ChrisJervis

@MsMirandaMarie

@Amanda_Allison

Trust me, funny, consistently entertaining folks. (No shade to the others I'm following, ya'll know I only hang w/ the best.)

Oh, and follow ME: @Bfloyd86

Chrisette Michele's Career Should Benefit from Her "Epiphany"

To say that Chrisette Michele's debut was disappointing would be unfair. Her first single "If I Have My Way" was lovely, but just too adult-contemporary for her intended audience. But anyone who has heard the title track from Michele's Epiphany can tell you that the singer has developed a sound more suitable for her youth. Epiphany is fresh in every sense of the word, from production to delivery, and shows that Michele is ready to become an R&B star in her own right.

While "Epiphany" is easily the best track on the 12 song album, Michele remains satisfying throughout. The self-sacrificial "Blame it On Me" is as well-written as it is performed. Lyrics like "Sometimes it hurts to know the loving you had is slowly fading away" fall just short of melo-drama, so that listeners can find them relatable without feeling embarrased. More importantly, Michele's voice is flawless throughout the song. She has a range that sounds as elegant in its lower registers as it does in higher octaves, and delivers tons of emotion behind each note.

Check "Porcelain Doll" for a down-to-earth delivery, with plenty of attitude: "I'm a full-grown woman, I am not your porcelain doll." "Notebook" comes with every bit of the personal confession implied by the title, while "Our Song" is an airy, country inspired mid-tempo that could serve as the perfect summer break-up lament.

There's not a bad track on Epiphany, and even the Ne-Yo feature on "What You Do" doesn't sacrifice the album's sincerity.

After Epiphany, Chrisette Michele deserves a spot among R&B's hottest up-and-coming artists, right next to Jazmine Sullivan and Jennifer Hudson (who, incidently, weren't able to deliver albums nearly as satisfying). I haven't heard a better album in 2009.

Check out "Blame it On Me" and "Porcelain Doll."

The Best Of...

I realize that it's a little early for my blog to be releasing its Greatest Hits, but between completing my last quarter of school and looking for a professional gig, I've fallen a bit behind on the posts. Still, I have a few more readers now than I did when I first began, so I thought I'd offer a little retrospective.

We'll call it a game of catch-up.

• Don't call it a comeback, she's still crazy. Check out Britney Spear's return to semi-coherency.

• Still don't believe Britney's back? Here's the proof.

• Oh yeah, Brandy's back too. That didn't go quite as well.

• Whitney runs from The Hills

• MTV goes gay for pay

• Janet Jackson loses Control

• Kelly Clarkson makes amends

• Tyler Perry makes me vomit
  

No worries, I'll be back in full force in just a bit. Until then...

Kelly Clarkson Returns to Form with "All I Ever Wanted"

I own each of Kelly Clarkson's four albums, and that's not a problem for me to admit since she's easily one of the best pop artists to emerge this decade. That's an especially impressive accomplishment given the circumstances of her initial mainstream exposure. In the seven years following her American Idol win, Kelly has managed to sculpt an image for herself that overshadows the fact that she more or less micro-managed her way toward a record deal, and that speaks volumes about her immense talent.

Still, even with my love for Clarkson, I didn't love 2007's My December. That's a bit hard for me to admit, since popular opinion reflects the same attitude toward her brooding third album; and I'd much prefer to be in the minority. But My December was almost too self-pitying. Clarkson has a history of approaching love and loss with a mostly sardonic attitude that makes songs like "Behind These Hazel Eyes" and "Since U Been Gone" as empowering as they are mournful, and more explicitly sad songs like "Because of You" that much more appealing because of their vulnerability. On My December, Kelly traded in the wit for an outright bitterness that grows increasingly less interesting from track to track.

On her latest effort, All I Ever Wanted, Kelly manages to blend the charming approachability of her earlier work, with the lyrical substance of My December, to create an album that has just as much depth as it does commercial potential.

First single, "My Life Would Suck Without You," isn't about marketing the rest of the album, it's about convincing her fans to give her a second chance, and it works perfectly in that regard. The phenomenal success of Kelly's Breakaway was a reflection of its ability to remain relatable across a broad age-range--from middle school through college, everyone was quoting some Clarkson lyric on their away message, and "My Life Would Suck" functions in the same way. "I really shouldn't miss you, but I can't let you go" is so shamelessly Facebook status ready that it's no wonder the song shot straight to number one in the first week of its release. In that regard, it's certainly a return to form for Clarkson, but ironically one of the few low points on All I Ever Wanted.

The Katy Perry penned "I Do Not Hook Up" is a much better reflection of the rest of the album, as the song is as refreshing as it is familiar. And while the title is more or less self-explanatory, Clarkson carries it from being just a simple declaration of sexual self-agency, to becoming an anthem for those demanding some sort of substance before heading to the bedroom. But it's songs like "Impossible" and "Already Gone" that prove that Clarkson and One Republic's Ryan Tedder have a chemistry that may even surpass the brilliance of her work with Evanesence's Ben Moody ("Hazel Eyes" and "Because of You"). Both songs manage to be radio-friendly and intensely personal at the same time, which is a hard balance to find, especially in today's superficial pop consciousness. Finally, if you weren't sure that Clarkson could hold her own against that other popular idol--Carrie Underwood--check the ballad "Cry," which not only moves into Underwood's country-pop lane, but totally upstages her in the process.

Outside of "My Life Would Suck," other throw-away material includes the overly-sentimental "If No One Will Listen" ("maybe no one told you there was strength in your tears" LAME) and "Whyyawannabringmedown," which is such an Avril song that not even Clarkson can save it from drowning in embarrassing teenage angst.

But, what is most important is that through it all Clarkson's voice remains as flawless as ever, so that even the most tedious of material is worth listening to, if for her unexpectedly soulful approach alone. Kells can sing...no, really.

Here's "I Do Not Hook Up," which is basically ringtone material in my life.




Oh, and via Google it's really hard to find a decent picture of Clarkson...her publicist should probably work on that.

In Case You Forgot How Sexy Janet Jackson Is...

Janet Jackson is back in the studio, and with her signature producers no less.

That's pretty much it for that update, but since I look for any reason to make a Janet post I thought I'd take this time to give you guys my favorites of Janet's bedroom ballads.

I'm pretty confident that Janet is the sexiest female artist of our time, and in case you need a reminder...

Janet Jackson's 10 Sexiest Songs

10. Tonight's The Night (The Velvet Rope, 1997)

Even at 31, Janet manages to convincingly coo about virginity...and keeping the lyrics of the Rod Stewart original in tact gives the song a bisexual lien that was pretty ballsy in the 90s. If nothing else, Janet makes lines like "Spread your wings and let me come inside," seem infinitely more appealing than Stewart, so that forcing yourself upon an unsuspecting date never seemed nearly as enticing.


9. Someday is Tonight (Rhythm Nation, 1989)

"You know I promised I'd be worth the wait; now the wait is over" Yeah, this song came nearly three years after "Let's Wait Awhile," and realistically, just the thought of getting some is probably enough to validate its place on the list. Still, if you're looking for more, listen to the song, because Janet's shy yet certain delivery made her sexy long before she traded in military garb for nipple rings.

8. Funny How Time Flies (When You're Having Fun) (Control, 1986)

It's sort of funny that a song so sexually suggestive would sit so nicely aside Janet's infamously chaste "Let's Wait Awhile," from her breakthrough album Control. Still, it works because Janet manages to say everything she needs to say, without really saying anything at all. In effect, the song is more or less a quiet-storm loop of its title, but Janet's breathy vocals and strategically placed moans make "having fun" and "getting laid" seem interchangeable. And, while spoken word intros and interjections are generally regarded as cheesy, especially in ballads, Janet whispering in French is the vocal equivalent of KY His & Her's.

7. I Get Lonely (The Velvet Rope, 1997)

Yes, this is a breakup track, but if Janet's vulnerable delivery isn't enough to bring you home, the shameless Jodeci-esque shirt ripping near the end of the video will certainly lead to a change of heart. "Lonely" resonates with the effectiveness of Janet's pleading, so that you know her wayward lover is on his way back for at least on more night of making up. Oh, and this is hands down my favorite Janet tune, ever.

6. Together Again (Deeper Remix) (The Velvet Rope, 1997)

So basically, if you can turn a song about lost loved ones into a baby-maker, without changing a single lyric, you're doing big things. "Go deeper inside me" takes on a whole new meaning in the slowed down remix of Janet's '97 hit, without ever compromising the sincerity of the original, and that's almost amazing.

5. Anytime, Anyplace (janet., 1993)

Yeah..if this song isn't a draw dropper, I don't what is. If it wasn't cool to be a hoe before '93, Janet justified casual sex for an entire generation. Plus, I think the original video came with a condom advisory, which just proves that even at her freakiest, Janet stays in Control.

4. Twenty-Foreplay (Design of a Decade, 1996)

This is arguably the classiest of Janet's freakier bedroom excursions, but it's my favorite. Janet starts off innocently enough, "sleep my love, don't you worry, you just sleep," before seamlessly trading in romance for straight smut. "You've made love to my mind, now you gotta take me from behind." Still, you may have to run the track back, because Janet delivers even the most explicit of lyrics with a casualness that leaves you wondering if she's really just said what you think you've heard.

3. Would You Mind? (All For You, 2001)

Taken from 2001's All For You, "Would You Mind" is probably the most explicit song Janet's ever recorded. While lyrics like, "I wanna kiss you, suck you, taste you, ride you" may initially come off as slutty, at the end of the day Janet is more or less expressing the latent bedroom fantasies of more than just a few people; and on some level, her courage to do so is respectable enough. Still, if that's all bullshit and Janet is just being a straight freak, that's cool too...cause I'm pretty sure that's what she was going for anyway, and it works for me.

2.Take Care (20 Y.O., 2006)

This song is about masturbation, which may or not be a mood setter, but I chose it because I don't know a sexier song about getting yourself off. "At home, I'm so alone, I'm wishing you were here....I"ll lay here and take care of it til' you come home to me." Janet's definitely making due with her resources, and I ain't mad. Plus, at 40 upon recording this song, Janet demonstrates that sexuality does not expire past one's 30s.

1. That's The Way Love Goes (janet., 1993)

Because "like a moth to a flame, burned by the fire" is a terrible line, but Janet makes it read like poetry. "The Way Love Goes" didn't surface until seven years into Janet's post-Control career, and realistically, no one had any reason to think she was sexy enough to pull it off. Where Janet used to hint at getting it in, she now openly admitted to wanting it without hesitation; "Go deeper baby, deeper...you feel so good I wanna cry." At 25, it made sense for her to give up the coyness of her earlier years. But, who knew she'd pull it off quite so well?

If you're not up on things, here's a link to a pretty well-handled mix of Janet's nastier moments.

And here's the video for I Get Lonely...because 12 years later, it still holds up quite well.

Black History Month is Still Important to Me

I haven't done a Black History post, and even though it's still early in the month, that disappoints me. I'd love to say that I've been thinking about a post in the back of my mind all week, but in reality, it hadn't even crossed my mind. A lot of this blog is dedicated to commenting on the Black experience, at least as told through popular media. In reality, being Black in America transcends that which the media readily covers, and that's why I've decided to post one of my favorite poems in celebration of Black History Month.

Poetry isn't something that I enjoy reading, as it's too subjective, and really just difficult. But, for me Gwendolyn Brooks' "Kitchenette Building" personifies the Black experience in America perfectly, so I'll share it with you guys. Something about the imagery reminds me so much of my childhood; not just in terms of my own family, but families around me as well.

I've spent four years in college around some of the most ambitious Black young-adults I've ever met, and I can't help but to think that we're all the result of the reality depicted in this poem: a generation of African-Americans struggling to maintain some sense of hope, despite the desperation of their circumstances, so that their children might make it a little further than they have.

Kitchenette Building

Gwendolyn Brooks

We are things of dry hours and the involuntary plan, Grayed in, and gray.

"Dream" mate, a giddy sound,
not strong Like "rent",
"feeding a wife",
"satisfying a man".

But could a dream sent up
through onion fumes
Its white and violet,
fight with fried potatoes

And yesterday's garbage ripening
in the hall,
Flutter, or sing an aria down
these rooms,

Even if we were willing to let it in,
Had time to warm it, keep it very clean,
Anticipate a message, let it begin?

We wonder. But not well! not for a minute! Since Number Five is out of the bathroom now, We think of lukewarm water, hope to get in it.


Oh, and if you don't know Gwendolyn Brooks...you better ask

Speaking of Usher...

A surprising number of people don't realize that Usher had a career before My Way. A few weeks ago "Think of You" came on my iTunes shuffle, and a friend of mine, who happens to be an Usher groupie, said "Ohh, is this Tevin Campbell?" No, but it was probably one of Tevin's (moment of silence) leftovers.

Before Usher ran away with Jermaine Dupri, he was Diddy's protege, and in turn, released some of the most inappropriate material of his career. No, really. Lyrics like, "I ain't tryna be funny...it's only a sexual thing" and "How do you want it, fast or slow?" probably weren't the most tactful to hand to a 14-year-old kid. Then again, at just 7 myself, I probably shouldn't have been singing along to them.

That's neither here nor there. Usher's self-titled debut has sank out of consciousness, so much so that I can't remember the last time he even acknowledged it himself. Inappropriate or not, Usher handled the material pretty well, and while he lacked the mature delivery of Campbell, he didn't sound quite as uncomfortable with more adult subject matter.

Anybody remember when Tevin tried to get sexy? Vomit.

So..here's Usher's forgotten collection. Starting with my personal favorite, the DeVante Swing penned "Can You Get Wit' It." Next, "Call Me a Mack" from the Poetic Justice soundtrack (HE RAPS..not like, "Nice and Slow" rapping...but like, really trying to rap). Finally, "Everytime I Think of You," which is probably the song you'll most recognize.



(They've blocked embedding on this song, so here's the link for the actual video. )

Usher - Call Me A Mack
Uploaded by chirine

Usher - Think Of You
Uploaded by chirine

My Favorite R&B Guys

I don't too much talk about contemporary male R&B artists on this blog, and that's mostly because they suck. Seriously, if I were to spend too much time sharing my male R&B tastes, you guys would probably start wondering why I'm blogging about Bobby Brown and Dru Hill in 2009, so I more or less leave it alone. Still, that's not to say that I don't appreciate a select few guys in the game right now, so I thought I'd give you a quick run through.

The list will progress from least worthy of my time, to most, and I think you'll see that the first few names are really scratching at the bottom of decency, but I digress.

List are fun, and here's mine of the top ten men in contemporary R&B.

Oh, and Maxwell supersedes this list, as he's clearly above all these hoes.

10. Bobby Valentino

I said the bottom of this list would be rough, but in all fairness Bobby Valentino is a pretty solid artist. He's so far from original that it almost hurts, but as I've said before, there's nothing wrong with playing it safe, as long as it's well executed. Bobby's debut was weak, but his 2006 follow-up, Special Occasion, was easily one of the best R&B albums released that year. He rides his mid tempo lane quite nicely, and even his cover of Babyface's "Soon As I Get Home" worked out better than expected. Songs like the Timbaland produced "Anonymous" prove that he can pick up the pace when necessary, and while I've tried so hard to dislike his current single, "Beep Beep," I definitely end up feeling it just enough when it comes on in the club.

But yeah, he looks like a Teddy Graham, so...

9. Sammie

Sammie is easily the most underrated artist on this list. The kid releases a single about as often as Posh Spice expresses emotion, so it's understandable that he'd be unfamiliar to audiences. But, his lack of visibility is in no way indicative of his vocal talent. At just 21, Sammie can sing a ballad like a grown man. I don't mean "I can finally get in the bar!" grown, I'm talking panties thrown on stage grown. His material matches his talent, and song's like 2006's "Come With Me" put him miles ahead of other, more commercially successful, artists. Oh, and "Slow" rivals songs by both R.Kelly and Janet in the baby-making category.

8. Lloyd

Lloyd has a falsetto that the world ain't ready for. Yes, you've heard better, but not nearly as consistent. I don't know many artists that can utilize the register so frequently without transitioning from breathy and seductive to worn and exhausted, often within the same song. Lloyd pulls it off, making even the most trite material melt under his presence. He's one of only two artists on this list that can move from R&B to Pop with ease, and without losing much of anything in translation. Oh, and "Girls Around the World" is throwback perfection...Lil' Wayne feature and all.

7. Trey Songz

I would argue that Trey Songz is the best vocalist on this list, and I'd be right. The only thing that keeps him from appearing further up is his lack of consistently good material. Spend enough time with both Trey Songz and Trey Day and it becomes obvious that the man loses focus midway through each project. Still, when Songz isn't so concerned with trying to keep up with R. Kelly, and finds his own stride, he exudes the potential to become one of the most celebrated male vocalists of our generation. No, really, that voice is something serious.

6. Ne-Yo

Say what you will about the man and his lyrics, but Ne-Yo knows how to capitalize on the everyday. He's made a career out of writing lyrics so void of depth and individuality, that anyone can relate to them, and arrangements so simple that one can't help but to sing along. I've said it before, I'll say it again: brilliance. More than that, he's one of very few successful producers that has also managed to be taken seriously as an artist, and while his own music hardly stands out from the music he provides for other artists, it's satisfying nonetheless. While I'll always argue that 2006's Because of You was his best work, last year's Year of the Gentleman proved that even one of the most predictable producers in the game is capable of taking a step outside of the box. Oh, and that other artist who transitions effortlessly from R&B to Pop? Check "Closer."

5. Mario

Oddly enough, Mario's breakout hit "Let Me Love You" hardly does it for me. By no means do I dislike the song, but it was never something I was dying to hear. That being said, Mario is probably the artist I listen to the most on this list. 2004's Turning Point was good, but 2007's Go! was a real accomplishment. Has anyone heard that record? Nope, probably not. That's too bad, because Mario trades in teenage suggestiveness, for aggressively adult material without missing a beat. While lyrics like, "Not tryna be your lover, just wanna fuck you like no other" border on Pretty Ricky bawdiness, Mario delivers them with a maturity that will have you falling for the game by the album's midpoint. But, it's his cover of Keith Sweat's "Right and a Wrong Way" that will leave you feeling embarrassed: "Damn, this is almost better than the origi..."

4. Lyfe Jennings

I don't think anyone is as big a Lyfe fan as I am. All of his albums stay in constant rotation on my iPod, as if removing them would be blasphemous. Something about his voice, paired with the subject matter of his lyrics keeps me interested in just about everything he does. For me, Lyfe is the Mary J. of the male R&B game, and I don't feel like that's a stretch. The same pained vocal technique utilized by Lyfe has been the cornerstone of Mary's career, and both artists are telling stories about survival. Despite general consensus, I think last year's Lyfe Change was everything Jennings needed his third outing to be, and I'm still waiting for a 3rd single.

3. Ryan Leslie

Yeah, I've only just started giving Ryan Leslie a chance, but the swiftness with which I've acquainted myself with his back catalog should serve as an indication of how impressive I think he is. While his production for other artists is hit or miss, his own stuff is good. Like, really good. I've been listening to his self-titled album non-stop for the past week and a half, and what I feel is far too genuine to be called an infatuation. In a perfect world (where the hell is Keri Hilson?) Ryan Leslie would change the game, forcing male R&B stars to step up their lackluster, Lil' Wayne dependent hustle, and get back to approaching music as art. In reality, it'll sell about 100,000 (if) copies in its first week, fall off from there, and be followed by a statement from Leslie blaming the economy and pledging allegiance to his passion in spite of stalled units. Yeah, that sounds about right.

2. Usher

I don't need to elaborate on this too much; you're all familiar. I will say that for all of his lack of creativity, Usher is amazingly consistent. More or less, he's been singing the same songs since My Way, and doing it well enough to keep us interested for what is nearing two decades. That's a hustle, and I ain't mad; especially considering that Here I Stand, his one attempt at a change of pace, was met with such lukewarm response.

That album was good. Yeah, I said it.

1. The-Dream

You're mad, huh? I don't care. My list, my rules.

Love/Hate was my favorite album last year, and after hearing "Rockin That Shit," and a few other songs, I'm pretty confident that Love vs. Money will be my favorite album of this year. The-Dream's obvious Prince influence is just subtle enough to be flattering, and not tasteless. And as he moves away from the 80s funk of songs like "Nikki" and "Fast Car," he only continues to prove himself a more credible artist with each successive single. I won't pretend like The-Dream is breaking new ground, but he's certainly modernizing an already laid foundation, and complimenting greatness is the next best thing to achieving it.

And realistically, Rihanna owes him her entire career. He probably even cosigned on that bob.

Honorable Mention: J. Holiday, Sterling Simms, Craig David

Oh, and no, I didn't forget about Anthony Hamilton, Jamie Foxx, or Chris Brown. In fact, I very consciously passed them all over.

I'm Over Ginuwine, But This is a Good Ass Song

It's called Last Chance, and it's produced by Bryan Michael Cox, who, in my opinion, has written some of the best ballads heard on the radio in the past few years.

I Love P!nk

Ann Coulter Makes Me Wanna Vomit, But This Shit Right Here...

Sometimes I feel foolish for getting so upset with just about everything that comes out of Ann Coulter's mouth. It's so obvious that "a bitch got books to sell," so that pissing people off is something that she does to keep that spiteful face full of botox. Really, when you have a problem with women, jews, blacks, gays, and Barack Obama all at the same time...you need to sit down and think about things. She even called John Edwards a faggot, and he's pretty much the carebear of politicians.

But I don't blame her...she's stupid. I blame reputable new shows that continue to host her biased and unfounded, and really just ignorant, opinions simply for the sake of ratings and media attention. It's not that I disagree with her (which I totally do), it's just that a majority of what she says has no logical, or ethical merit, and I can't respect that.

That being said, who knew this woman was 47? Evidently selling your soul to Satan does wonders for the complexion and bone structure.

Anyway...the point is...I just purchased the second season of the Boondocks, and wanted to share what may be my favorite moment from the entire series. The clip below is FUNNY...I'm not suggesting it's funny, I'm telling you. And if you don't laugh, you don't get it...which means you need to go and Google current events, catch up on a couple of years in politics, and come back to it. Yep, it's that serious.





"These crabcakes are good as a mug...I fucks w/ these crabcakes!"

Because I Still Don't Have Time For A Real Post

****ing Funny

Because school is dominating my life, and I haven't found time to make an actual post...here's something that kept me from my English HW, and will probably ruin my Geology test grade...but FUCK IT, I'm a senior!




Can you **** yourself now?

Stay tuned for posts on The Dream and Kelly Clarkson.

Okay, I Need Some Help

If anyone has Pretty Ricky's 80's Babies in its entirety...could you please slide me a download?

I won't even call Pretty Ricky my guilty pleasure, since I really feel no shame in my enjoyment of their shit. I tried to write them off as talentless and wack coonery, but inevitably started to enjoy most of their music. No, I'll never see them in concert, or tape their photo to my trapper keeper (remember those?), but I'll probably keep listening to their stuff.

That being said, I can't find 80's Babies anywhere...and apparently the album has been shelved due to extensive downloading. If that's the case, I don't know how I managed to miss it...but I need it in my life.

So again, if you have it...drop me a line

AIM: FloydBMF
Twitter: BFloyd86
Email: bf348405@ohio.edu

Please and thank you!

*Here's hoping this post didn't compromise all of my musical integrity...

I'm A Little Late...But Birthday Wishes Are In Order For One of My Favorite Artists...

It's strange to think that Aaliyah would have been 30 this year. It's even more uncomfortable when one notices that it's been nearly eight years since her death. I still remember seeing the news scroll across the bottom of some show on MTV, and thinking it was bull, until I turned on the radio and heard a succession of Aaliyah songs, and knew that it was in memorial, not celebration.

Still, it has been eight years, and Aaliyah was more than a talent taken too soon. I remember buying her final album, Aaliyah on the day of its release and being less than impressed with the direction she had taken with the self-titled effort. I was 14 then. At 22 (and really, right around 16 or so) I can recognize the brilliance in Aaliyah taking a step away from Timbaland and Missy, and following her own agenda. With "We Need a Resolution" Aaliyah gave up adolescent inclinations toward abandoning a challenging relationship, and instead delivered a desperate, yet mature plea for the salvation of love gone wrong. At 23, she was wise beyond her years, and that resonates throughout the whole of Aaliyah.

"Rock the Boat" was the sexiest we'd seen the singer since the hesitantly suggestive "Hot Like Fire" from One In A Million, and "More Than A Woman" solidified her growth from street but sweet tomboy, to sex symbol in the making.

However, the album didn't just shine in terms of singles, but was consistent from top to bottom. Aaliyah defines R&B swagger before the word even became a pop culture staple with the borderline arrogance of "Loose Talk," and demonstrates her musical versatility with the rock flavored "What If?". Even the Timbaland assisted tracks, like "I Care 4 U" succeed because of Aaliyah, not in spite of her. All of which goes to prove, that even as Timb crafts hits for Justin Timberlake and Nelly Furtado, no one will ever challenge his craft in the manner Aaliyah did.

Taken as a whole, Aaliyah is pure romance. Not picture perfect love; but as brooding and pained as a Victorian novel. In the end, this demonstrates that Aaliyah never took her audience for granted, or allowed them to marginalize her as any certain type of artist; as she effortlessly progressed from the new jack swing of "Back and Forth," to the modestly cocky hip-hop swagg of "Try Again."

Remembering Aaliyah fondly isn't hard to do, as few artists stayed as refreshingly progressive as she did throughout her near-decade long run as the exception to every teen-pop rule. While record sells for the singer were modest to well, her talent was consistently undeniable, as evident in the timelessness of a majority of her material.

Here's my favorite Aaliyah video.



Damn, that "I Miss You" video is still a little difficult for me to watch.

Tonite...A DJ Saved My Life

Most Mariah fans will tell you that her 2001 effort, Glitter, was taken for granted in the midst of the film's poor publicity, and commercial failure. That's bullshit; Glitter sucked.

The album had four (four!) singles, and not a single one managed to catch anyone's attention...I seriously can't remember a single one, outside of the awful "Loverboy." Disregarding the wackness that is the song in general, the video is even more of a mess...as no 30-something woman should be prancing around a racetrack like a meth-influenced teenager...wearing a bandanna bra no less. "I want a sugar daddy...take me for a ride!" Gross.

But I don't mean to go hard on Mariah, as the fact that she was paid out of her Virgin contract after just one album is insult enough (really..consider the lack of faith that you have to have in an artist to decide that you'd rather spend money on dropping them, rather than take the chance of wasting money on keeping them). Instead, this post is in praise of MiMi's cover of the the 80's classic "Last Night A DJ Saved My Life."

Of Glitter's four singles, this was the last, and it's almost a shame that it wasn't given more attention. Mariah has been blending hip-hop with pop since the mid 90's, and I'll give her credit for taking a risk that most pop artists didn't take until well into the 2000's. That being said, Mariah eventually lost focus..and the authenticity of tracks like "Honey," "Breakdown" and the "Fantasy" remix were eventually compromised for shallow radio-eager fodder like "Heartbreaker" and "Crybaby." But where those tracks desperately sought to please TRL audiences, "Last Night A DJ Saved My Life" was dance floor brilliance.

It's difficult to swallow a dance song from Mariah, considering she has the rhythm and stage presence of a hesitant stripper, but for some reason "DJ" works. It's one of the rare occasions where she manages to channel a little bit of funk, without sounding like a straight hood rat ("Speedial connected me to Ray Ray, click..it's Chante and Mae Mae!"). Instead "DJ" is the sort of dance track Janet would kill for, but couldn't handle nearly as well (that voice has hardly seen any little bit of challenge since Velvet Rope).

"DJ" isn't' about vocal delivery, as Mariah does a wonderful job of restraining her remarkable range in favor of a mellow, causal delivery, that suits the the material perfectly. Instead, the song smartly forgoes vocal acrobatics in favor of 80's superficiality.... barely audible, yet alluring delivery, with production catering exclusively to the cocaine haze of the era. But the song falls just short of becoming too old-school, thanks to a welcomed Fabolous feature. In the end, when Mariah sings "Last night a DJ saved my life from a broken heart," you can't help but to relate, given the feel good vibe radiating from the record.

Fuck "Migrate," "DJ" is Mariah at her club-ready best.

Here's the video for "Last Night A DJ Saved My Life," followed by the embarrassment that is "Loverboy"...cause I'm a Janet Stan..and can't give MiMi too much positive attention.





Mariah got a little bit of booty though...

Rihanna's Grammy Promo Shot Is Sorta Fly

Rihanna's likeness here is made up of titles of Grammy winning song that have inspired her own career. Who knew RiRi was such a fan of Destiny's Child and Mariah Carey? No really, I see a lot of Bee and MiMi dominating Rihanna's hairline, and chin area.

Elsewhere, the list is pretty safe and predictable. Little Madonna and Whitney, some Prince and Michael...surprisingly no Janet (that I can see). I'd definitely expect her to relate more to Jan than Mariah, but who knows...

Still, generally speaking, this pic is pretty interesting.